The Temptation to Plagiarize Yourself

Of course there are have always been debates about plagiarism with the music industry, some of the latest debates included Coldplay's "Viva La Vida," or Avril Lavignes "Girlfriend."  But up for discussion today is the (sometimes unwanted) temptation to plagiarize yourself as a musician or group. 

What is meant by plagiarizing yourself?  This is the act of (sometimes subconsciously) copying your own, previously successful material In order to recreate success of a former album or song. 

Sometimes this could happen on the artist's own accord, but on the other, sometimes record labels will give specific instructions to artists to deliver material that is "similar" to a previous hit and/or deliver material that falls under general categories, such as "up-tempo."

From both the artist and label standpoint, this strategy is sometimes unavoidable.  Unfortunately, market research can really only be conducted on how well the artist as a whole is being received by an audience.  Which in many cases is obvious.  This does not include the research that should be done to fully understand which specific tracks (or style of songs by this artist) are connecting best with their current and potential audience, whether large or small.  How many times as a listener have you made the statement "I love that band, but I am not really a fan of their songs on the radio, I like '#11' (Or whatever specific track.)  With this statement alone, we can derive the conclusion that the potential for '#11' to be a success among a band's current and prospective fan base is not being noted (Being that it is not being released as a single.)  This type of listener statement is all too common.  Yes, "A" was a big hit, but who is to say "B" couldn't have been a bigger hit?  What happens when the next album is released and songs in style "B" do not make the cut?  Could this potentially lose a fan? 

The Peacock Effect: For the Sake of Originality, Let's Ditch the Necktie

Ok,  It might be imperative to pre-empt this post with the fact that even I have fallen victim to this now, very defunct fashion statement as a musician.  Regardless, I was hoping, our community as a whole could mark today as the day we officially
lose the necktie as a stylish "alternative"
fashion statement for stage or promotional wear.

Let's just spend a short moment trying to understand why the necktie was successful in the first place.  Let's break the third wall and think about why this was considered cool and whom or what "made" it cool.

Well,  the necktie is traditionally used by professionals in a business setting.  Therefore, the necktie makes a few unspoken statements and has it's own engrained associations.  Loosely put, the necktie says:  Mature, professional, business, serious, smart, etc.  The originator of necktie use in a musical/concert setting (we won't name names) was trying to (whether deliberately or not) create what is considered the "Peacock Effect" by wearing the necktie in a setting that is not usually associated with most of the above terms.

What is the "Peacock Effect?":  In a loose definition, the "Peacock Effect" is an effect created when one uses something (in many cases something visual, such as odd colors on clothing, various accessories that are out of the norm, etc.) to stand out in a crowd.  Much like an actual peacock would with it's bright colors, etc.

Country Gets A Makeover

Quite honestly, I am surprised a lot of the new marketing of Country music hasn't been stated out loud by anyone just yet? I think we are all ready to face the facts that Country music for the most part received a "makeover" over the past 5 years in specific.

Jaron is the latest pop star to crossover
after years of being out of the limelight.
Jaron released "Crazy For This Girl"
with his brother Evan in 2000.

The country music we knew from 20 years ago was still steeped largely within its roots musically. Promotions for artists usually fit the music and the artist themselves:  They were, well, 'simple.'

1. Over the past 5 years, Country got 'glossy' and for the most part started to mirror pop music. Let me explain what I mean in a few examples:
2. Recordings became much more complex with added overdubs and processed sounds. And of course the ever elusive addition of the "electric guitar"
   
   

PSA for Top 40 Radio:

Some might say that "radio is dying" and perhaps now considered an antiquated approach to consuming music as an active listener. I would tentatively agree with this notion. Although I am still a listener of radio stations where I currently live, I am tempted to scold them for they way they are currently doing business.

I think the notion that radio is dying comes from the idea that our worlds are becoming more personalized, and will continue to do so indefinitely. We currently live in a world where media has become something that you can mold to your wants and needs completely. Whether it be the news that is delivered to you, your music, or something else, we still get to choose. This is certainly not a new notion by any means.

The New Album Price = Free

Since the dawn of the digital and iTunes age, a subject always up for discussion is "What should I charge for my album?" For the most part, I am not even sure this is a question that the record labels can decide on an exact answer. As industry professionals, record executives recognize that sizable income is really attained from almost anything but that actual sale of the physical record itself, and we have watched the prices waffle back and forth over the years as these professionals settle into the new business model: digital delivery (of music.)

A Lesson In Fan Relations: Jason Mraz

So many musicians rely on social media and Web 2.0 tools (2 way communication) to connect with their fans.  Whether it be on Facebook, Twitter, a personal website or perhaps even the tired "Myspace Music" account. (Hopefully you are not using the latter as a sole tool for connecting with fans.) With any type of public relations, advertising, or marketing there are many tools that musicians and labels alike are able to utilize, and at a fair price. But there comes a time when everyone is "on board" so to speak with these types of tools and soon enough these outlets are bombarded with users who have accounts "just to have them." It's at this point when we separate the "men from the boys," and true success stories can arise.

Industry Entry: Remember the 90's?

In the most relevant debate; Whether a band should sign to a major label or simply "go it alone:" I can't help but think just how different things were even 15 years ago. What comes to mind first are the hit making factories of the 50's and 60's when solid songwriters would sit in office cubicles and churn out hit after hit for the best singers in the nation. At that time there was a process, and science to becoming successful in the music industry. I believe now more than ever that there is clearly no formula that works EVERY time. Of course this isn't news to pretty much any reader as many would say, "Well, we are in a digital age..." Which of course means that just about anyone can create a record and have it in a million headphones overnight.